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Notes from our Music Supervisor April 18, 2007

Posted by Norman in Notes.
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NOTE: This duplicates the notes Wendy sent out in the email.

Based on v499, I believe there is one major overall issue –the fight between traditional, orchestral score and the more
‘real music’ songs. Both are great, but they don’t always work back to back. One solution is to choose one or the other, but
I think we can get away with it if we allow the orchestral numbers to be as invisible as possible, as in many other films.

Also keep in mind ‘whose scene it is’ when choosing music… Sometimes the tone is hitting off mark because it’s
wallpapering rather than illuminating the scene’s purpose, ect. I personally have been having a whale of a time finding
music for Greg’s minimini, if anyone has any insight to what’s going through his head please let me know.

Generally, I think it serves us well to use music as transitional lube. I love the parts where score is used just to grab us out
of one scene and plop us in the next. Short and sweet. Let’s try to get on that page… see notes below.

Here are some more specific notes on the musical direction of SNOFHYP in chronological order. Based on v499.

1. transition out of David’s bathroom of dying. “track 5.” Very effective cue, humorous, way charming. However, it might
better as a short transitioner, rather than to play it all the way through Richard’s scene. End cue earlier, perhaps right
after the transition is psychologically complete.

2. “boom boom ba” out of cupholder scene –works.

3. “track 21” transitions us out of Steven’s car to the next scene, and is used in 4 places. Super fun song, really energetic.
This works great the way it’s used, I like the way it moves the story forward. The style of music stands out a bit, but it
doesn’t bother me for some reason. but see note #4…

4. welcome to the beach scene-“track 19.” This one really stands out following the heels of “track 21.” It’s a very robust,
orchestral, grand score… Great pick, but seems to clash. Confer this cue with the cues from note #3, make them friends.
Maybe something with less colors? Also the cue seems to run a bit long.

5. “feelflows.” dream sequence. works, fun, dreamy. i want to smoke.

6. just after sex-sounds scene, enter Ted. “suicide”. This sad song comes in very abruptly after such a ‘comedic’ scene…
maybe it’ll work better if the cue comes in AFTER we establish the new scene, the new mood, Ted… that way it won’t feel
so out of the blue, and eventually so on-the-nose. It’s a very dramatic song.

7. after suicide talk. “track 2”. works okay pokay.

8. Trish wakes up the next day. “track 9”. Sort of an abrupt cue… kind of reminds me of old Italy for some odd reason. It
comes in strong, which conflicts with Trish’s emotional state right then. Maybe we could move the cue later, after we see
Trish’s unknowingness, or switch it for a less heavy song. Try eliminating the cue, too, maybe it doesn’t need it. May be a
good rest after all that’s happened. (the calm AFTER the storm…)

9. Wedding. “track7”. works fine, nice and short, totally cool. “track6” works great too.

10. Richard’s speech “track1”. undecided-wendy. Can’t put finger on it, but the cue timing is off or the tone… unhelpful-
wendy.

11. End of wedding. “you still believe in me.” music switches gear into guitar acoustic feeling which isn’t really consistent,
but it does work.

12. Camp Jung. “track3”. a sentimental cue, moves rhythmically, I dig it. But also it’s kind of an “End of Summer Camp”
kind of scene, and I’m not sure if the cue captures that. Just throwing that out there. Also the spotting seems a little off… try
ending sooner?

13. hug with Richard. “Si Paloma.” great song, it almost feels more fitting for the scene than the cue before it. The two
don’t seem to neighbor well though.

Thanks for reading.

Love, Music Superman Wendy

ps: I’ll do another round of notes mid-week, how does Monday night sound?

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